A video of the band’s famous 1969 concert in
London’s Hyde Park was designed to give visitors
a front-row seat to history. But Mr. Jagger wanted
to upgrade the experience. He directed the team to
convert the video to 3-D—just months before the
immovable opening date for the London exhibit,
says Ki McGinity, project manager, iEC, Gold Coast,
Australia. The request threatened to wreak havoc
on the budget and derail the schedule because it
required creating 3-D information for each of the
video’s 10,800 frames, Ms. Gallagher says.

But Mr. McGinity found outside experts to
help complete the conversion process in only six

STAKEHOLDERSATISFACTION“We changed a lot of the ideasthat were originally presentedand substituted them. So it’s beenpretty hands-on. ... To make thedecisions about what goes in and what doesn’tis really difficult.”

—Mick Jagger

“We put in our little offerings ofdirections and questions, like,‘Wouldn’t the audience want moreof an interaction? Wouldn’t thepeople want to come in and actually feelthings and make it more tactile?’”

—Ronnie Wood

weeks—wrapping up just two weeks before the
exhibit opened. He also found a way to offset the
cost: RealD, which supplies the exhibit’s 3-D viewing glasses, agreed to become an exhibit sponsor—which effectively reduced the rate for the 3-D
screen and projection filter hardware.

All changes were made without impacting qual-ity, Mr. McGinity says. “There aren’t many peoplewho walk out of the 3-D gallery without a hugesmile on their faces.”One gallery re-created the band’s first shared apart-ment in London, England from the 1960s. To makethe space look just right, the project team inter-viewed band members and reviewed plans withthem via video calls. Mr. Jagger had a last-minutechange request: “He thought there were too manycigarette butts and beer bottles—even for that timeand space,” Ms. Gallagher says. “So we had to elimi-nate some of those.”To re-create a recording studio for another gal-lery, the team had to make its case creatively. WhenMr. Jagger said the initial computer drawings of therecording studio lacked enough intimate detailsfor him to evaluate the concept’s quality, the teamasked the exhibition designer, Pentagram, to workup hand-drawn sketches for the band to review.“We had to give the drawings a human touch,” Ms.Gallagher says. “Once we showed them a morefleshed-out proposal, they were very pleased.”